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Sound Health: The Music and Sounds That Make Us Whole
Examines how the sounds around us affect our bodies, minds, and spirits, and suggests ways to use sounds and music to help promote a healthy life
- GenresMusic
211 pages, Paperback
First published March 1, 1985
40 people want to read
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Displaying 1 - 3 of 3 reviews
March 14, 2026
HALPERN EXPLAINS SOME OF THE ‘THEORY’ BEHIND HIS MUSIC
Steven Halpern is a famed composer and keyboardist, who is one of the genuine ‘founders’ of ‘New Age Music.’ In 1989 he was given the Crystal Award at the 1st International New Age Music Conference, and in 2013 his album ‘Deep Alpha’ was nominated for a Grammy Award for ‘Best New Age Album.’ (He has a graduate degree in the psychology of music from San Francisco's Lone Mountain College.) He has released more than 50 albums, including his ‘subliminal’ albums. Louis Savary has “doctorates in mathematics and spirituality, is a well-known lecturer, workshop leader, and the author of many books.”
They wrote in the Introduction to this 1985 book, “The ultimate purpose of this book is to foster health, peace, and harmony in your life and in the world… Interest in health maintenance and preventive medicine has become a phenomenon of unprecedented growth. People today are learning to use the tools of health to foster their own wholeness. In a quiet revolution, humanity is awakening to its right to be healthy. But one element is overlooked: ‘sound’ health. Sound---whether it be the music of instruments, the voice of a singer, the hum of human conversation… or the tolling of a church bell---can be a powerful ingredient in the formula of health.
“In this book we share some of the ways we have found to use sound and music to help keep humans well. We place the tools for sound health in your hands---because, like many others in our new age of self-responsibility and consciousness, we have become aware that the tools for sound health, like the tools for all human health, belong to everyone… It is our purpose in this book not only to raise awareness of the harmful sounds that we tolerate, wittingly or unwittingly, in our environment, but also to present a variety of ways to use relaxing and healing sounds… We are deeply indebted to those scientists who have begun to research the effects of sound on the human body and mind. We have conducted some sound research ourselves and are eager to do more.”
They state in Chapter 1, “The time has come for us to be conscious of healthy and unhealthy sounds, and to assume responsibility for the sounds we take into our bodies. Sound awareness is especially important, for although we can easily close our mouths and eyes to what we don’t want to take in, we can’t really close our ears. Nature did not give us earlids. Our ears remain open and working even while we sleep.” (Pg. 3)
They assert, “To keep people happy and busy, it is not enough to say ‘music by Mozart.’ Mozart wrote a lot of music, not all of which fosters happiness and productivity. The same is true of any of the great composers. In contrast to the highly stylized classical music forms, ‘Spectrum Suite’ [by Halpern] is an example of a uniquely new kind of music that contains no recognizable melody, rhythm or harmony, and yet is still musical and aesthetically pleasing.” (Pg. 30)
Later, they add, “There can be a music that transcends personal tastes, a music to which the nervous system wants to dance, a music that does not require intellectual analysis or emotional involvement. Certain contemporary nontraditional compositions like ‘Spectrum Suite’ seem to do precisely this. In this style of music, there is no recognizable melody to hum, and no harmonic progressions to which we have been conditioned to respond. Unlike virtually all other music, there is no central rhythm that hooks us, consciously or unconsciously, to its pulse. Using tools that already exist in our Western musical system, there is great potential for balancing and relaxing the body and mind.” (Pg. 43)
He adds in a footnote, “A fuller discussion of related research may be found in my book ‘Tuning the Human Instrument’ as well as in my master’s thesis ‘Towards a Contemporary Psychology of Music,’ Lone Mountain College, San Francisco, 1973.”
They report, “In a series of landmark studies conducted in 1973, and summarized in ‘Field Effects of Music on the Electromagnetic Energy Body,’ researchers at the Psychotronic Research Institute in California including Dan Kientz, Randall Fonte, and myself) discovered some interesting facts about relaxation and music. We discovered that the music that people thought was relaxing them was, in fact, not relaxing them to any physiologically significant degree… In addition to testing classical music defined as relaxing and soothing, Kientz, et al., also tested ‘Spectrum Suite.’ In test subjects, this music produced a dramatic change in the GSR measurements and the Kirlian image in ways that indicated significant degrees of relaxation. Subsequent testing involving electro-acupuncture and applied kinesiology and kinesionics have corroborated these results.” (Pg. 46-47)
They state, “Another piece of the puzzle of how music affects us fell into place when Rupert Sheldrake… published … ‘A New Science of Life.’ Sheldrake theorizes that the universe functions not so much by immutable laws as by ‘habits’---patterns that have been created by the repetition of events over time. According to the hypothesis, organizing fields, called morphogenetic fields, serve as blueprints for form and behavior. In other words, once a pattern of behavior is manifested, it becomes easier for others in that species to perform that same behavior through what is called ‘morphic resonance.’ This holds true whether the activity involves a rat learning a maze or a crystal growing in a sealed laboratory jar. It also may relate to the way that we relate to music, in that we may be resonating to the ways that others of our species have responded to music in the past.” (Pg. 97-98)
They explain, “Music provides one of the most powerful tools to access new dimensions and new capacities of the mind. This process involves using music played in the background as a catalyst during the process of instruction. Some of the techniques that involve music-listening… stem from the innovative discoveries of the Bulgarian psychiatrist and educator, Georgi Lozanov… But be forewarned: accelerated learning does not work with just ANY music. The secret is to select music that tends to balance, harmonize, and synchronize the activities of both halves of the brain… Studies in the United States and Europe have found that the ‘Anti-Frantic’ series of compositions are compatible with this approach to learning. Even though this music does not possess the ‘orthodox tempo of 60 beats per minute, it has been shown to facilitate whole-brain functioning…” (Pg. 119-120)
Halpern adds, “A recent development that may enhance this superlearning effort is found in my ‘Soundwave 2000’ series… ‘The Joy of Learning,’’ an adagio-style recording specifically composed for fostering learning and studying, includes a … simulated heartbeat to further entrain the listener’s mind and body into appropriate breathing and brain-wave patterns. In addition, ‘The Joy of Learning’ features specific positive programming suggestions interwoven into the music at very low volume levels. In this programming technique, which I call ‘Harmonic Affirmation,’ the suggestions are played in harmony with the chordal structure of the music, so that the words become part of the orchestration. This is one small way in which technology helps us catch up to the needs of education inf the 80s.” (Pg. 120-121)
Halpern recounts, “In1969, frustrated with what I found in the existing literature, and needing something legal, nonaddictive, and inexpensive, I set out to create a new kind of music. I knew, in my heart of hearts, that I had no choice but to dedicate my life to researching and composing music for health and healing. In early 1975, after six years of laboratory, clinical, and anecdotal research, I published my first recording. While many listeners welcomed my new healthful music as a ‘refreshing wind on the music scene,’ others treated it with a mixture of disbelief, derision, and apathy. Neither the media nor the music industry were interested in music related to health…
“When I started out, the only outlets I could convince to carry my records… were health food stores or bookstores. I also made them available at concerts and by direct mail. The rest, as they say, is history… Major record stores and other chains are now beginning to stock a representative sampling of this new music… A simple way of distinguishing the difference in orientation between the new music and pop music is to look at titles. On the Top-40 list we see… ‘Let’s Get It On’… or ‘Love Hurts.’ In New Age music we see titles such as ‘Invocation’… ‘Elixir’… and ‘Mother of Pearl.’” (Pg. 141-142)
One need not agree with all of Halpern’s ‘theory’ in order to enjoy and appreciate his music (which I do, and have done for decades).
Steven Halpern is a famed composer and keyboardist, who is one of the genuine ‘founders’ of ‘New Age Music.’ In 1989 he was given the Crystal Award at the 1st International New Age Music Conference, and in 2013 his album ‘Deep Alpha’ was nominated for a Grammy Award for ‘Best New Age Album.’ (He has a graduate degree in the psychology of music from San Francisco's Lone Mountain College.) He has released more than 50 albums, including his ‘subliminal’ albums. Louis Savary has “doctorates in mathematics and spirituality, is a well-known lecturer, workshop leader, and the author of many books.”
They wrote in the Introduction to this 1985 book, “The ultimate purpose of this book is to foster health, peace, and harmony in your life and in the world… Interest in health maintenance and preventive medicine has become a phenomenon of unprecedented growth. People today are learning to use the tools of health to foster their own wholeness. In a quiet revolution, humanity is awakening to its right to be healthy. But one element is overlooked: ‘sound’ health. Sound---whether it be the music of instruments, the voice of a singer, the hum of human conversation… or the tolling of a church bell---can be a powerful ingredient in the formula of health.
“In this book we share some of the ways we have found to use sound and music to help keep humans well. We place the tools for sound health in your hands---because, like many others in our new age of self-responsibility and consciousness, we have become aware that the tools for sound health, like the tools for all human health, belong to everyone… It is our purpose in this book not only to raise awareness of the harmful sounds that we tolerate, wittingly or unwittingly, in our environment, but also to present a variety of ways to use relaxing and healing sounds… We are deeply indebted to those scientists who have begun to research the effects of sound on the human body and mind. We have conducted some sound research ourselves and are eager to do more.”
They state in Chapter 1, “The time has come for us to be conscious of healthy and unhealthy sounds, and to assume responsibility for the sounds we take into our bodies. Sound awareness is especially important, for although we can easily close our mouths and eyes to what we don’t want to take in, we can’t really close our ears. Nature did not give us earlids. Our ears remain open and working even while we sleep.” (Pg. 3)
They assert, “To keep people happy and busy, it is not enough to say ‘music by Mozart.’ Mozart wrote a lot of music, not all of which fosters happiness and productivity. The same is true of any of the great composers. In contrast to the highly stylized classical music forms, ‘Spectrum Suite’ [by Halpern] is an example of a uniquely new kind of music that contains no recognizable melody, rhythm or harmony, and yet is still musical and aesthetically pleasing.” (Pg. 30)
Later, they add, “There can be a music that transcends personal tastes, a music to which the nervous system wants to dance, a music that does not require intellectual analysis or emotional involvement. Certain contemporary nontraditional compositions like ‘Spectrum Suite’ seem to do precisely this. In this style of music, there is no recognizable melody to hum, and no harmonic progressions to which we have been conditioned to respond. Unlike virtually all other music, there is no central rhythm that hooks us, consciously or unconsciously, to its pulse. Using tools that already exist in our Western musical system, there is great potential for balancing and relaxing the body and mind.” (Pg. 43)
He adds in a footnote, “A fuller discussion of related research may be found in my book ‘Tuning the Human Instrument’ as well as in my master’s thesis ‘Towards a Contemporary Psychology of Music,’ Lone Mountain College, San Francisco, 1973.”
They report, “In a series of landmark studies conducted in 1973, and summarized in ‘Field Effects of Music on the Electromagnetic Energy Body,’ researchers at the Psychotronic Research Institute in California including Dan Kientz, Randall Fonte, and myself) discovered some interesting facts about relaxation and music. We discovered that the music that people thought was relaxing them was, in fact, not relaxing them to any physiologically significant degree… In addition to testing classical music defined as relaxing and soothing, Kientz, et al., also tested ‘Spectrum Suite.’ In test subjects, this music produced a dramatic change in the GSR measurements and the Kirlian image in ways that indicated significant degrees of relaxation. Subsequent testing involving electro-acupuncture and applied kinesiology and kinesionics have corroborated these results.” (Pg. 46-47)
They state, “Another piece of the puzzle of how music affects us fell into place when Rupert Sheldrake… published … ‘A New Science of Life.’ Sheldrake theorizes that the universe functions not so much by immutable laws as by ‘habits’---patterns that have been created by the repetition of events over time. According to the hypothesis, organizing fields, called morphogenetic fields, serve as blueprints for form and behavior. In other words, once a pattern of behavior is manifested, it becomes easier for others in that species to perform that same behavior through what is called ‘morphic resonance.’ This holds true whether the activity involves a rat learning a maze or a crystal growing in a sealed laboratory jar. It also may relate to the way that we relate to music, in that we may be resonating to the ways that others of our species have responded to music in the past.” (Pg. 97-98)
They explain, “Music provides one of the most powerful tools to access new dimensions and new capacities of the mind. This process involves using music played in the background as a catalyst during the process of instruction. Some of the techniques that involve music-listening… stem from the innovative discoveries of the Bulgarian psychiatrist and educator, Georgi Lozanov… But be forewarned: accelerated learning does not work with just ANY music. The secret is to select music that tends to balance, harmonize, and synchronize the activities of both halves of the brain… Studies in the United States and Europe have found that the ‘Anti-Frantic’ series of compositions are compatible with this approach to learning. Even though this music does not possess the ‘orthodox tempo of 60 beats per minute, it has been shown to facilitate whole-brain functioning…” (Pg. 119-120)
Halpern adds, “A recent development that may enhance this superlearning effort is found in my ‘Soundwave 2000’ series… ‘The Joy of Learning,’’ an adagio-style recording specifically composed for fostering learning and studying, includes a … simulated heartbeat to further entrain the listener’s mind and body into appropriate breathing and brain-wave patterns. In addition, ‘The Joy of Learning’ features specific positive programming suggestions interwoven into the music at very low volume levels. In this programming technique, which I call ‘Harmonic Affirmation,’ the suggestions are played in harmony with the chordal structure of the music, so that the words become part of the orchestration. This is one small way in which technology helps us catch up to the needs of education inf the 80s.” (Pg. 120-121)
Halpern recounts, “In1969, frustrated with what I found in the existing literature, and needing something legal, nonaddictive, and inexpensive, I set out to create a new kind of music. I knew, in my heart of hearts, that I had no choice but to dedicate my life to researching and composing music for health and healing. In early 1975, after six years of laboratory, clinical, and anecdotal research, I published my first recording. While many listeners welcomed my new healthful music as a ‘refreshing wind on the music scene,’ others treated it with a mixture of disbelief, derision, and apathy. Neither the media nor the music industry were interested in music related to health…
“When I started out, the only outlets I could convince to carry my records… were health food stores or bookstores. I also made them available at concerts and by direct mail. The rest, as they say, is history… Major record stores and other chains are now beginning to stock a representative sampling of this new music… A simple way of distinguishing the difference in orientation between the new music and pop music is to look at titles. On the Top-40 list we see… ‘Let’s Get It On’… or ‘Love Hurts.’ In New Age music we see titles such as ‘Invocation’… ‘Elixir’… and ‘Mother of Pearl.’” (Pg. 141-142)
One need not agree with all of Halpern’s ‘theory’ in order to enjoy and appreciate his music (which I do, and have done for decades).
October 9, 2017
This book started my journey in college. It sparked the innate desire in me to assist others, at the time (which has since taken its own course), with my love of psychology and the healing effects of music. Anyone interested in music, should read it.
March 1, 2013
A fascinating study of how music and sounds impact out health, both negatively and positively.
Displaying 1 - 3 of 3 reviews